Manuscript Circulation

Marotti, Arthur F.; Estill, Laura

doi:10.1093/oxfordhb/9780199566105.013.0004

Cited by 3 publications

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“…The front matter thus marked the book as a material object in two ways: the dedicatory epistle and address to the reader represented not only two competing modes of patronage on which the author depended, but designated the book as both gift offering and commodity within the commercial marketplace. 54 The composer, as 'author', was simultaneously situated within the book both as a culturally autonomous figure and as a dependent servant. While these pages provided a platform for authorial positioning, they also functioned, for at least some readers, as a lens through which the book's contents might read.…”

Section: Framing the Songs: Authorship And Patronage In The Prefatorymentioning

confidence: 99%

The order of the book: materiality, narrative and authorial voice in John Dowland's First Booke of Songes or Ayres

Gibson

2012

Renaissance Studies

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In 1597 John Dowland made his self‐authorised print debut with The First Booke of Songes or Ayres. Many of the songs in the collection were, as Dowland indicates, ‘ripe inough by their age’, having ‘already grac't’ the two universities. The songs, and their poetic texts independent of musical setting, had had various pre‐print histories and would have invited specific contextually situated interpretations. Gathered together, set and ordered by Dowland in his printed collection the songs might attract alternative, though perhaps complimentary, readings informed by their new configuration and materiality. This article seeks to explore the ways in which the inclusion and positioning of these songs in a printed book might have impinged on the ways in which they were read and understood by contemporaneous readers, singers and listeners. The songs will be considered, firstly, through their framing by the prefatory pages of the book, and the various agendas these pages express – not least, that of the named author – and, secondly, from the perspective of their ordering and the overarching narrative it implies, the musical and textual interrelationships they evoke and their musical, poetic and political references to the world outside the pages of the book that might have also have informed interpretations of the songs as part of a printed collection.

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Section: Framing the Songs: Authorship And Patronage In The Prefatorymentioning

confidence: 99%

The order of the book: materiality, narrative and authorial voice in John Dowland's First Booke of Songes or Ayres

Gibson

2012

Renaissance Studies

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Error and the Text

Leonard

2020

Error in Shakespeare

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MISPRINTING AND MISREADING IN THE COMEDY OF ERRORS

Leonard¹

2023

Printing and Misprinting

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This chapter tackles the special case of textual error in The Comedy of Errors as the play appeared in Shakespeare’s First Folio (1623). The error concerns the speech prefixes and stage directions of the two sets of twins, the Antipholi and Dromio brothers, enhancing the confusion of identity that drives the plot. The annotations left by seventeenth- and early eighteenth-century readers demonstrate that they fell into a state of error, sometimes significantly, in simply attempting to follow the play. Contrary to the standard approach of textual criticism, these inaccuracies could contribute to the interpretation and the historical reception of The Comedy of Errors in new and meaningful ways.

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Manuscript Circulation

Cited by 3 publications

References 0 publications

The order of the book: materiality, narrative and authorial voice in John Dowland's First Booke of Songes or Ayres

The order of the book: materiality, narrative and authorial voice in John Dowland's First Booke of Songes or Ayres

Error and the Text

MISPRINTING AND MISREADING IN THE COMEDY OF ERRORS

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